This objection is more specious than real. _During_ the expression the emotion is always felt. _After_ it, the centres having normally discharged themselves, we feel it no more. But where the facial part of the discharge is suppressed the thoracic and visceral may be all the more violent and persistent, as in suppressed laughter; or the original emotion may be changed, by the combination of the provoking object with the restraining pressure, into _another emotion altogether_, in which different and possibly profounder organic disturbance occurs. If I would kill my enemy but dare not, my emotion is surely altogether other than that which would possess me if I let my anger explode.--On the whole, therefore this objection has no weight. =The Subtler Emotions.=--In the æsthetic emotions the bodily reverberation and the feeling may both be faint. A connoisseur is apt to judge a work of art dryly and intellectually, and with no bodily thrill. On the other hand, works of art may arouse intense emotion; and whenever they do so, the experience is completely covered by the terms of our theory. Our theory requires that _incoming currents_ be the basis of emotion. But, whether secondary organic reverberations be or be not aroused by it, the perception of a work of art (music, decoration, etc.) is always in the first instance at any rate an affair of incoming currents. The work itself is an object of sensation; and, the perception of an object of sensation being a 'coarse' or vivid experience, what pleasure goes with it will partake of the 'coarse' or vivid form. That there may be subtle pleasure too, I do not deny. In other words, there may be purely cerebral emotion, independent of all currents from outside. Such feelings as moral satisfaction, thankfulness, curiosity, relief at getting a problem solved, may be of this sort. But the thinness and paleness of these feelings, when unmixed with bodily effects, is in very striking contrast to the coarser emotions. In all sentimental and impressionable people the bodily effects mix in: the voice breaks and the eyes moisten when the moral truth is felt, etc. Wherever there is anything like _rapture_, however intellectual its ground, we find these secondary processes ensue. Unless we actually laugh at the neatness of the demonstration or witticism; unless we thrill at the case of justice, or tingle at the act of magnanimity, our state of mind can hardly be called emotional at all. It is in fact a mere intellectual perception of how certain things are to be called--neat, right, witty, generous, and the like. Such a judicial state of mind as this is to be classed among cognitive rather than among emotional acts.